Ece Mumay - Ansızın - Chord

Key G major – E minor Chords Bm7, Cmaj7, Am7, Em7, D Easy key C (capo 7)

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Capo 0

Bm7            Cmaj7
Sökülüyorum, defalarca dikilen yerden
   Am7                           Bm7
Tonlarca yükün altında kalıyor ruhum
               Cmaj7
Kırılıyorum, defalarca onarılan yerden
    Am7                      Bm7
Kaçacak kuytuları ruhunda buldum

Cmaj7
Bin omuzda söyleyemediğim
Bm7          Cmaj7
Bir omuzda sökülür mü
    Am7          Bm7
Nefesim is kokar ruhunu

Her öptüğümde kanar kalbim
          D
Nasıl bir kördüğüm

Em7
Saklarım, gizlerim, unutmam
Bm7
Söylemem ismini kimseye
Cmaj7
Bile bile sormam sendeki yerimi
Am7            Bm7
Doldurur mu kimse diye

Cmaj7
Korkmuyorum hiç dur deme
  Bm7
Zamansızım sana bir gece
Cmaj7
Ansızın geldiğim gibi
        Am7          Bm7
Gidişin olmasın yenilsen bile

Em7    Bm7  Cmaj7  Am7  Bm7
Cmaj7  Bm7  Cmaj7  Am7  Bm7

End of song Play again?

Ece Mumay - Ansızın Tabs

NotesX

Harmony analysis

Ece Mumay – Ansızın: key and chord analysis

The song opens on Bm7 and ends on Bm7. Its chords belong to both G major and Em, so every chord below is read both ways.

Major view

G major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F# (leading tone, pulls home)
4 = C (the note that leans on the 3rd)

Minor view

E minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = C (the minor's melancholy)
b7 = D (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the E minor side because Em is heard 2 times while G never appears. That is an interpretation, not a rule — the same chords are just as valid seen from G major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to G or to Em; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from G major
Degree	Chord	Role	Notes	In song
I	G	Tonic — home	G · B · D	—
ii7	Am7	Supertonic — prepares the dominant	A · C · E · G	7×
iii7	Bm7	Mediant — a tonic-family shade	B · D · F# · A	13×
V/vi	B	Secondary dominant V/vi — leads to Emsecondary dominant	B · D# · F#	—
IVmaj7	Cmaj7	Subdominant — moves away from home	C · E · G · B	10×
V	D	Dominant — strongest pull home	D · F# · A	1×
vi7	Em7	Relative minor — the melancholy side	E · G · B · D	2×
vii°	F#dim	Leading-tone chord — tension	F# · A · C	—

Seen from E minor
Degree	Chord	Role	Notes	In song
i7	Em7	Tonic — home	E · G · B · D	2×
ii°	F#dim	Supertonic — prepares the dominant	F# · A · C	—
III	G	Relative major — the bright side	G · B · D	—
iv7	Am7	Subdominant — moves away from home	A · C · E · G	7×
v7	Bm7	Minor dominant — soft pull	B · D · F# · A	13×
V	B	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	B · D# · F#	—
VImaj7	Cmaj7	Submediant — warm colour	C · E · G · B	10×
VII	D	Subtonic — steps back to the tonic	D · F# · A	1×

Analysis

The key pair is G major and its relative E minor (1 sharp). 5 different chords appear 33 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

D Em7 GV → vi7deceptive cadence EmVII → i7Aeolian arrival ×1
Bm7 Em7 Giii7 → vi7 Emv7 → i7natural-minor cadence ×1

The move to watch is D → Em7, heard once. From the Em side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the G side it reads V → vi7 (deceptive cadence: expected G, lands on Em). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

G major pentatonic and E minor pentatonic are the same five notes (G – A – B – D – E): start from G for a brighter phrase, from E for a bluesier one.
Over Bm7, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over Cmaj7, land on C, E, G — the chord's own tones always sound right on strong beats.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With G major shapes

No capo — open G shapes
Capo 3 + E shapes
Capo 5 + D shapes

With E minor shapes

No capo — open Em shapes
Capo 2 + Dm shapes
Capo 7 + Am shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

The first chord is Bm7; the ear learns where home is within a second. The backbone is Bm7, Cmaj7, Am7, Em7 — iii7–IVmaj7–ii7–vi7 from the G side, v7–VImaj7–iv7–i7 from the Em side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D → Em7 (V → vi7 in G, VII → i7 in Em): Aeolian arrival — rises a whole tone into home. It closes on Bm7, letting the G side have the last word.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.